This is my first experience with Diane D’Angelo. I recommend her. The artist has a voice whose obvious power is selectively employed and deftly controlled, nuanced theatrical chops, a sense of playful, sometimes sexy fun, and style. Tonight’s show explores film songs played over closing credits, often as instrumentals. Some are familiar, others recognizable outside film, still others eclectic choices.
Carly Simon’s “Let the River Run” (Working Girl) reflects D’Angelo’s own youthful experience commuting to Wall Street in sneakers and a conservative suit – “just like the movie’s heroine, Tess.” Sweeping vocal arrives sure, but not forced. One imagines her on the ferry, face to the wind.
Diane D’Angelo and Tom Hubbard
Pop songs, we’re told, are often repurposed for movie scores. Harry Warren/Mack Gordon’s 1943 “You’ll Never Know” was used in The Shape of Water reflecting its timeless romance. Brushes skirt drums, bass arrives cottony, piano accompaniment spreads like butter. D’Angelo is earnest, understated, in satiny chanteuse mode. Later, “Hello Stranger”(Barbara Lewis – Moonlight) is also tenderly phrased for delectation.
Charlie Brown’s smile is almost a half circle, a single line, yet expresses a multitude of emotions. The vocalist uses her head that way – a nod, slight shake or turn affecting interpretation. Arms rise only when compelled, hands open mirroring lyrics. Oh, and the lady can moooove.
Realizing she had to look at Disney films, D’Angelo chose – wait for it – the animated Lilo and Stitch, rather than one we’d all know. Further surprise arrives with the nature of “Burning Love” (Dennis Linde): Lord Almighty, I feel my temperature risin’/Higher higher/it’s burnin’ through to my soul…Shoulders rise, her nose crinkles, hips shift, lips purse. It sizzles. She sizzles. Its sped up second half is superfluous.
A tandem “Against All Odds” (Phil Collins – the movie of the same name) and “Watch Closely Now” (Paul Williams/Kenny Asher – A Star is Born) are focused on “him” ostensibly at the back of the club. The first is tremulous, the second enthralled. Aria da capo closes parenthesis. Both become unexpectedly torchy. D’Angelo is a ripe candidate for classic torch.
Diane D’Angelo
Also somewhat slowed to good effect is “To Sir, With Love” (Don Black/Marc London/R. Granier – the film of the same name). Palms open “with love.” It’s balladic, warmer and less frustrated than the original. The artist’s vocal arcs and slides. Bass underscores the era.
“I’m Alright” (Kenny Loggins – Caddyshack) is framed by a tale of walking away from a “perfect” boyfriend: I’m alright/Nobody worry ’bout me/Why you got to gimme a fight/Can’t you just let it be? Step, bump, step, bump, arms wide, chest out, she’s proud and infectiously determined.
“Gently Down the Stream” (Christine Ebersole – The Big Wedding) and “Mockingbird Lullaby” (Amanda McBroom/Michele Brourman – The Great Lillian Hall) both incorporate traditional songs. The first, a swinging little nursery rhyme sings: …Not a cloud in the sky/And a wonderful guy…D’Angelo changes octaves with the ease of breathing. “Mockingbird Lullaby” …The price that is paid/For Mistakes that are made/All in the name of love…takes on an entirely different tenor than accustomed. Opening a capella, it’s appealing sway, rather than rhythmic punch.
Diane D’Angelo and Gregory Toroian
“What a Difference a Day Makes” (Maria Grever – Stanley Adams English lyrics—Sunchaser) is a songbook, country club cha-cha with slight swing to its second part. The vocalist is palpably lighthearted, both genres well served. At the other end of the spectrum, “Calling You” (Bob Telson – Bagdad Café) emerges like mystical invocation. Piano is mossy, cymbals whisper, bass pads.
Two songs from Bond films don’t add anything and Randy Newman’s “You Can Keep Your Hat On” (9 ½ Weeks), a perfect opportunity to showcase the artist’s ample seductive qualities, seems restrained.
Skilled direction by Lina Koutrakas is bespoke to talent and material.
Dianne D’Angelo is well worth seeing and now on my roster.
During the lovely encore, Johnny Mercer/Henry Mancini’s “Moon River”(Breakfast at Tiffany’s), closing credits actually roll down a lowered screen providing source material for the curious, many of whom are themselves performers. Very clever.
Photos by Alix Cohen
Diane D’Angelo: Closing Credits
MD/Piano- Gregory Toroian
Bass-Tom Hubbard, Drums- David Silliman
Laurie Beechman Theatre
407 W 42nd St, Between 9th and 10th Aves. beneath West Bank Cafe
The show will repeat at Chelsea Table and Stage, July 17, 7 p.m.
Tonight was also my first time in the new Laurie Beechman Theatre. Its renovation takes an old standard up to the level of snazzy club. Designer David Rockwell’s blue and silver palate, round and square café tables (gone is picnic seating), decorative stage swags, overhead lighting, and spiffy menus add pizzazz. Sound is excellent. Unfortunately dozens of individual lights directly over the stage tonight too often manifest multiple, bright colors distracting from performance.
